When you’re young, you try to find your way in life and when you final­ly find it, the world has already changed. Music and the way music is con­sumed does not seem to play an impor­tant role any­more as it used to. Every­one has become a blog­ger with a fast-grow­ing blog full of adver­tis­ing and sec­ond-hand news arti­cles, and feel enti­tled to anony­mous­ly force their opin­ion on oth­ers because they think they are an excep­tion to the rest, shit­ting on every­thing that gets in their way while they for­get what music is about.

New world, new times

Some­times it’s best to reflect on the past to pro­ceed with the future, and this is exact­ly what Nine Inch Nails did with Bad Witch, result­ing in a rock-isch, noisy album with lay­ers of hid­den stuff, with tracks metic­u­lous­ly arranged which Nine Inch Nails hope the lis­ten­er will dig into, while every now and then pick up the nee­dle to get the door or answer the phone. Tor­men­tous things that add up to the expe­ri­ence of lis­ten­ing to music and merg­ing with the grooves.

The over­all sound of the record is very hos­tile, noisy and har­mo­nious­ly destroyed, mak­ing it the one of the most impen­e­tra­ble albums that Nine Inch Nails has released to date. While many fans argue about whether it is an EP or an album, or that they’ve lost their unique sound, Nine Inch Nails couldn’t care less and they even throw in some sax­o­phone, which Trent Reznor want­ed to pick up for a long time now. Most notably, “God Break Down the Door” and “Over and Out” has a bowie-esque sound to it, which ini­tial­ly wasn’t intend­ed for the out­side world, but Atti­cus Ross insist­ed he used that vocal part.

Bad Witch is an excel­lent album once you pierced its skin, but if you expect to fall in love with this record when you lis­ten to it for the first time, think again, as it encour­ages you to par­tic­i­pate in its expe­ri­ence to ful­ly under­stand the record.

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